R. Moreno is an artist born in Colombia who currently lives and works in Paris. A graduate of the École Nationale Supérieure des Beaux-Arts de Paris, she also studied at the EHESS – École des hautes études en sciences sociales. She participated in the postgraduate program at the École Nationale Supérieure des Beaux-Arts de Lyon directed by Oulimata Gueye and is currently a researcher at ESACM – École supérieure d’art de Clermont Métropole Clermont-Ferrand.

Through sculpture, performance, and text, R. Moreno develops fictional narratives that explore the relationships between the human body, technological developments, and contemporary socio-economic contexts. Her practice investigates the political uses of language, social technologies, and strategies of resistance to capitalist systems.

Her work has been presented in solo exhibitions at Crac Alsace (2026) and Kunstverein Hamburg (2026), and in group exhibitions at institutions including Palais de Tokyo, Paris (2023), CAPC, Bordeaux (2024), and CCA, Berlin (2024), among others.

Wisrah C. V. da R. Celestino (Brazil, 1989) lives and works in Berlin, Germany. They hold a Bachelor of Laws degree from the Federal Fluminense University Law School and have completed a postgraduate artistic residency program at Hochschule für Bildende Künste Braunschweig. Through score, sculpture, text, photography, sound, and video, the artist explores the remaining structures of the transatlantic colonial project, focusing on institutional critique, language, and objecthood. Celestino has been awarded numerous prizes, residencies, and grants, including the ars viva prize for visual arts, Germany (Kulturkreis der deutschen Wirtschaft); Arbeitsstipendium Bildende Kunst (Senatsverwaltung für Kultur und Gesellschaftlichen Zusammenhalt), Pampulha Grant, Brazil (Belo Horizonte Municipal Foundation for Culture); Ducato Prize, Italy; Hochschule für Bildende Künste Braunschweig, Germany (Ministry of Science and Culture of Lower Saxony); Between Bridges Foundation, Germany; La Becque, Switzerland (The Swiss Arts Council Pro Helvetia); PACT Zollverein, Germany; British Council, UK; and Pivô, Brazil. Other accolades include Villa Romana 2026 (nominee), Günther-Peill-Stiftung 2026 (nominee), Stipendium der Landeshauptstadt Wiesbaden und des Nassauischen Kunstvereins Wiesbaden 2025 (nominee), Solo Award Kunsthal Charlottenborg 2024 (selected), and the III Reynaldo Roels Jr. Award (finalist).

Maya Quilolo is a multidisciplinary artist, researcher, and quilombola activist. She holds a PhD in Communication from UFMG, and her practice brings together art, environmental issues, human rights, and Black-Indigenous cosmologies, developing projects that connect artistic creation, research, and political action.

She is the founder of Ateliê Mukambu, an institution dedicated to investigating socio-environmental justice, ancestry, and knowledge production from Black and Indigenous perspectives.

Her international trajectory includes residencies, workshops, and lectures in countries such as Switzerland, Germany, the Netherlands, Nigeria, Thailand, Colombia, Uganda, and the United States. Her research has been recognized through initiatives including CAREC (PCF, 2023), Wosso (United Nations, 2025), and PLMM (2025).

Denise Agassi is an artist, acupuncturist, and researcher whose practice focuses on network structures. Initially, she worked with the digital flows of net art. Currently, her research centers on breathing practices and the body’s energetic networks, known in Traditional Chinese Medicine as meridians. She also provides therapeutic care aimed at maintaining health and supporting bodies affected by processes of vital exhaustion. Her treatments focus on prevention and holistic care through the restoration of organic and energetic balance. 

Juno B (Fortaleza, Brazil) is a transdisciplinary artist based in São Paulo. Their practice moves between fictions and trans-species mutations in dialogue with post-industrial adaptive landscapes, exploring relationships between temporality, ecology, and the limits of human experience.

Working across video, photography, sculptural objects, and immersive installations, they develop projects that engage counter-narratives, acts of fabulation, rites of passage, and speculative practices. Their research proposes visual and conceptual syntheses that challenge the boundaries between nature, technology, and imagination.

In 2024–2025, Juno B was selected for the 38th Panorama of Brazilian Art at the Museum of Modern Art of São Paulo. They have participated in group exhibitions at institutions including KADIST, Pinacoteca de São Paulo, Pivô, FMAC – Collection d’Art Contemporain de la Ville de Genève, and Pinacoteca do Ceará, among others. They have also undertaken artist residencies in Brazil, Bolivia, and Switzerland.

Born in 1985, Liv Schulman grew up in Buenos Aires, where she attended public school. Fascinated by television, she considers the arrival of cable TV in 1990 and the financial crash of 2001 among the defining moments of her life. A graduate of the École nationale supérieure d’arts de Paris-Cergy, she has been living between France and Buenos Aires since 2015.  

Patricia Domínguez Claro is an artist and researcher based in Puchuncaví, Chile. Her practice explores the digital, spiritual, and ecological relationships between living species within an increasingly corporate and technological world. Through research into ethnobotany, extractivism, and healing practices, she develops works that bring together speculative fiction, spirituality, and environmental critique.

Domínguez describes her work as a process of transforming and recoding reality, operating through what she terms spiritual fiction (spi-fi). She is also the founder of Studio Vegetalista, an experimental platform dedicated to connections between art, ethnobotany, and ancestral knowledge.

Her work has been presented at institutions including the New Museum, Hammer Museum, Museum of Modern Art (MoMA), Gasworks London, Munch Triennial, Museum of Latin American Art (MOLAA), Wellcome Collection, Gwangju Biennale, Gropius Bau, Museo Nacional Thyssen-Bornemisza, Transmediale Berlin, Pinacoteca de São Paulo, and FLORA ars+natura, among others. In 2025, her work was featured in Vitamin V: Video and the Moving Image in Contemporary Art (Phaidon Press), and she received the María José Jové Award. In 2022, she was awarded the Simetría Residency Award by CERN and Fundación Botín.

Bahar Noorizadeh is a filmmaker, writer, and platform designer. Her work engages with the reformulation of hegemonic narratives of time as they collapse under different forms of speculation—philosophical, financial, legal, and futurist, among others.

Noorizadeh is a founding member of BLOCC (<i>Building Leverage over Creative Capitalism</i>), a research and education platform that positions pedagogy as a strategy to transform the relationship between contemporary art and urban renewal.

Her current research explores the intersections between finance, contemporary art, and emerging technologies, developing the notion of “Weird Economies” to foster a transdisciplinary approach to economic futurism and post-financialization imaginaries.

http://leticiaramos.com.br/

Letícia Ramos explores the production limits of the experimental analogue image through works in photography and film. Her practice points to the aesthetic intersections between science and fiction transiting between natural and imaginary landscapes.

She has won photography awards such as Besphoto / NovoBanco, Brasil Fotografía Award, Bolsa Zuum / Moreira Salles Institute, Marc Ferrez Award and the Beca de Creación de la Fundación Botin. Her works were exhibited in spaces such as Tate Modern, Pivô Art Center, Moreira Salles Institute, Itaú Cultural, Fundación Iberê Camargo, Berardo Collection Museum, CAPC Musée d’art contemporain (Bordeaux). Her works are in collections such as Fundacion Botin, Noveo Musee de Monaco, Museum of Modern Art SP – RJ and Pinacoteca do Estado de São Paulo.

 

Participated in the exhibition Between Our Knots: Ten Years of ZUM/IMS Grant in 2023

Mona Benyamin is a visual artist and filmmaker whose work investigates intergenerational perspectives on hope, trauma, and identity. Her practice unfolds across multiple media, including painting, drawing, archival materials, and time-based media. Attentive to the political potential of art history, Benyamin employs humor and irony as tools of resistance and reflection. Her work is strongly influenced by television culture, ranging from film noir to contemporary Arabic pop music.

Through new media, installations, video, and film, Bo Wang’s practice engages sociopolitical and cultural themes in contemporary China and beyond. His early documentary works examine structures of power, economy, and ideology, as well as the ways in which the Chinese state maintains its authoritarian regime while adopting capitalism. Working with critical and contemporary materials, his recent essay films, in engaging with capitalism and globalization, offer significant potential for critical self-reflection. They also explore tensions between individualism and nationalism, the absurdity of reality and systems of structured knowledge, and the relationships between authenticity and authority. Wang’s work presents provocative portrayals of China by exposing contradictions in its cultural identity, transformations of physical space, power structures, perceptions of time and history, and in the production and consumption of images. These themes intersect, particularly in how we understand the experience of modernity. His practice is research-based and often involves archival materials, myths, historical narratives, and accounts of personal experience.

Carolina Fusilier’s work explores posthuman imaginaries through painting, sound, and film, addressing intersections between organic and mechanical bodies, as well as between industrial and domestic environments. She has received the Raul Urtasun–Frances Harley Fellowship at The Banff Centre, Canada (2015), and the Pollock-Krasner Foundation Fellowship, USA (2019). In 2020, her film El Lado Quieto, co-directed with Miko Revereza, was selected for the ACC (Asia Culture Center) Cinema Fund (South Korea) and screened at festivals worldwide. Her solo exhibitions include Clepsidra, Galeria Daniela Elbahara, Mexico City (2022); Kitchen With a View, Locust Projects, Miami (2019); and Angel Engines, Natalia Hug Gallery, Cologne (2018). She has also participated in exhibitions such as Doc Fortnight, MoMA, New York (2022); Open City Film Festival, ICA (Institute of Contemporary Art), London (2021); Museo de Arte Moderno de Buenos Aires (2020); The Drawing Center, New York (2019); and Centro Cultural Tlatelolco, Mexico City (2019). She studied at Universidad del Cine, Buenos Aires (2006–2009), and pursued further studies at the Düsseldorf Academy (2018–2019), SOMA, Mexico City (2016–2017), and Universidad Torcuato Di Tella, Buenos Aires (2011).

Juan Covelli uses technology as a medium; committed to decolonizing the museum through digital practices, he frees archives from institutional control in the name of emancipation. His practice revolves around the technological potential of digitization, 3D modeling, and printing to reexamine entrenched arguments around repatriation and colonial histories.

His work investigates the new materialities generated by the digital age and focuses on the dynamics and approaches of the physical within the digital world, as well as the oscillation between the two. He also explores the relationship between technology, heritage, archaeology, and digital colonialism.

Using video, modeling, datasets, and coding, Covelli creates installations that exist both in real-world contexts (IRL) and virtual environments (URL), collapsing historical practices with contemporary display models and digital aesthetics.

In an ongoing series titled Mirage, Covelli seeks to integrate aspects of research and landscape history, merging them with audiovisual production through some of his recurring tools—artificial intelligence, 3D capture and modeling, and game development software—in order to create experimental video works that critically engage with the politics of technology.

Works with video, performance, and artificial nails. Their work explores the boundaries of identity, nature, and culture, examining their multiple productions and inefficacies. In 2018, they received the National Visual Arts Award of Uruguay. They are a certified PADI Diver and currently live between Buenos Aires and Mexico City. Since 2018, they have been collaborating with Florencia Rodriguez Giles on a project that delves into the imaginative power of the underwater world.

Participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Florencia Rodriguez Giles explores the relationship between contemporary artistic practices and therapeutic procedures through means that include drawing, video, performance, and research into experimental pedagogical practices. Since 2018, she has had a project with Emilio Bianchic that explores the imaginative power of the underwater world. She holds a degree from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredon and is a certified PADI diver. In 2006, she continued her training with Nicola Costantino. The following year, she attended the Diana Aisenberg art clinic, and between 2010 and 2011, she participated in the Kuitca Scholarship / Torcuato Di Tella University.

Her work has been supported by numerous grants, including from the National Endowment for the Arts, the Fundación Antorchas of the Ministry of Culture of the Argentine Nation, and the Centre National des Arts Plastiques (CNAP) in France. In 2016, she received the first Braque Muntref Prize, and in 2019, the first Federico Klemm Prize. She has also participated in residencies at Palm Heights Hotel (Cayman Islands, 2022); Le Magasin- Centre National d’Art Contemporain (Grenoble, France, 2017); Frac Lorraine (Metz, France, 2016); Cité Internationale des Arts (Paris, France, 2016-2017); Paradise Air (Japan, 2015); Arcus Studio Residency for Artists (Japan, 2014); and AIT- Arts Initiative Tokyo (Tokyo, Japan, 2009).

Among her individual performances and exhibitions, the following stand out: Symtomario (Museo de Arte Moderno de Buenos Aires, 2022), Ronco Oceânico (Performance Biennial, 2019), Biodelica (Galería Ruth Benzacar, 2018); EsquizoPicnic (Museo Reina Sofía, Spain, 2018); Liminoid Session (Palais de Tokyo, France, 2016); Strabisme Internet (Galerie Bendana-Pinel, 2016); Hiperestesia (Muntref, 2016).

The therapeutic possibilities of artistic practice are part of her research fields. In this context, her work at the Clube de Artes e Lazer (La Plata, 2021-), GAYA (La Plata, 2019), INHA (Paris, 2019), EHPAD, Solexine, (G.E.M.) (Grenoble, 2017-18), the palliative care service for adults at the Legouest Hospital (Metz, 2016), the Luis Agote Juvenile Institute (Bs. As, 2014), and the Ricardo Gutierrez Children’s Hospital, Palliative Care Area (2010-2016) is worth highlighting.

She participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Gabriel Junqueira (Fortaleza, Ceará, 1992) is a multimedia artist who explores the relationships between body, technology and materiality in supports such as digital images, sculptures and installations.

His recent research revolves around the relationship between built spaces and nature through the creation of landscapes in 3D architectural visualization software, commonly used in the real estate market to simulate structures to be built. Seeking inspiration from corporate architecture and landscaping concepts, the artist creates impossible locations, where figurative elements are rearranged to abstraction.

As an extension of his research in visual arts, since 2018 he has been dedicated to the musical project “Naves Cilíndricas”. In 2020, he released two albums: “Imagens de Desastres Em Alta Resolution” by the Meia Vida label and “Névoa” by the Domina label.

@gabrieljunq

@navescilindricas

Artist participating in Pivô Satellite #4  (2022)

Mónica Heller (b. 1975, Buenos Aires) is a cartoonist, painter and video artist. Throughout her career she has created 2D and 3D animations, using both amateur production strategies and CGI models taken from open-source and free libraries. The self-taught nature of her approach to digital technology and the artisanal dedication she puts into each of her pieces laid the foundations for a DIY work ethic that characterizes and singles out both her varied production and the place she occupies within the
Argentine art scene.

Her works have been exhibited individually and collectively around the world. Among the several awards she received in recent years, the following stand out: the First Prize of the Andreani Award (2017), the Stimulus Award of the 72nd Salón Nacional Castagnino + Macro Museum (2017) and the Third Prize of the Fortabat Award (2021). She has represented the Argentina at the 59th International Art Exhibition of La Biennale di Venezia in 2022.

 

Participated in Pivô Satélite 2023

Visual artist and Master in Arts from the Universidade Federal do Pará. She is currently a doctoral student in Arts at UFPA. She works with various media, including videos, drawings, and neon installations, with the word and autofiction as her aesthetic guide, using words as a poetic medium, expanding and crossing meanings. As an artist, she has participated in exhibitions and projects in Brazil and abroad, such as: Eu, mesmo sem farol, segui, Espaço Cultural Silveira Athias, Belém, 2023; Matéria Difusa, um olhar sobre a coleção MACRS, Rio Grande do Sul, 2022; Prêmio Diário Contemporâneo de Fotografia, 2021; Praia, Galeria da Gávea, Rio de Janeiro, 2019; Triangular arte deste Século, Casa da Cultura da América Latina, Universidade de Brasília, Brasília, 2019; Prêmio Diário Contemporâneo de Fotografia, Museu do Estado do Pará, 2019; Salão Arte Pará 2019, Deslendário Amazônico, Museu do Estado do Pará, 2019; Experiência Vertigem, Museu da UFPA, Belém, 2019; Outra Margem Outro Um, Casa das Artes, Belém, 2018; O Designo e a Matéria (Sesc Juazeiro do Norte, Alagoas, and Fortaleza) – 2018; Salão Arte Pará – 2017; Prêmio Diário Contemporâneo de Fotografia – 2017, 2014, and 2011; O Designo e a Matéria (Sesc Palmas and São Paulo) – 2017; No Limite/Am Limit, Museu da UFPA – 2017; Extremos, Galeria Guaçuí, Juiz de Fora – 2017; Amazonian Video Art, The Centre for Contemporary Arts, Glasgow, Scotland – 2016; Para ver se o tempo volta, Galeria Fauna, São Paulo, 2015; Alastramento, Ateliê 397, São Paulo, 2015; Meu Coração (Teu) Território, project awarded the FUNARTE Visual Arts Grant 2014 – 2015, among others.

Among Awards, Grants, and Residencies, highlights include: Research and Creation Grant from the Fundação Cultural do Pará (2018), Honorable Mention at the 35th Salão Arte Pará 2016, Funarte Visual Arts Production Stimulus Grant – 2014; Artistic Residency at the Centro Cultural São Paulo, held at the Instituto Hilda Hilst and Atelier Aberto in Campinas – SP – 2014; Research, Creation, and Experimentation Grant – Instituto de Artes do Pará – 2014; Mídias Locativas Vivo Art Mov Eco Região Amazônica Award – 2012; Acquisition Award at the Salão Pequenos Formatos Unama – PA – 2012; Acquisition Award at Salão Arte Pará – 2011; Research, Creation, and Experimentation Grant – Instituto de Artes do Pará – 2011; Art Research Grant from the Fundação Ipiranga – 2009; Artistic Residency Grant – IAP + Kunsthaus; Germany- 2006. Mapped by the RUMOS ITAÚ CULTURAL project – 2005/2006. She also works as an independent curator, currently serving as the associate curator of the Amazonian Art Collection at UFPA; associate curator of Arte Pará 2019 (Exhibition Deslendário Amazônico); Presence in Collections: Casa da Cultura da América Latina, Museu de Arte do Rio Grande do Sul, Sesc Nacional, Amazonian Art Collection, Museu Casa das Onze Janelas, and Fundo Z.

She participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Works with video, performance, and artificial nails. Their work explores the boundaries of identity, nature, and culture, examining their multiple productions and inefficacies. In 2018, they received the National Visual Arts Award of Uruguay. They are a certified PADI Diver and currently live between Buenos Aires and Mexico City. Since 2018, they have been collaborating with Florencia Rodriguez Giles on a project that delves into the imaginative power of the underwater world.

Participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Florencia Rodriguez Giles explores the relationship between contemporary artistic practices and therapeutic procedures through means that include drawing, video, performance, and research into experimental pedagogical practices. Since 2018, she has had a project with Emilio Bianchic that explores the imaginative power of the underwater world. She holds a degree from the Escuela Nacional de Bellas Artes Prilidiano Pueyrredon and is a certified PADI diver. In 2006, she continued her training with Nicola Costantino. The following year, she attended the Diana Aisenberg art clinic, and between 2010 and 2011, she participated in the Kuitca Scholarship / Torcuato Di Tella University.

Her work has been supported by numerous grants, including from the National Endowment for the Arts, the Fundación Antorchas of the Ministry of Culture of the Argentine Nation, and the Centre National des Arts Plastiques (CNAP) in France. In 2016, she received the first Braque Muntref Prize, and in 2019, the first Federico Klemm Prize. She has also participated in residencies at Palm Heights Hotel (Cayman Islands, 2022); Le Magasin- Centre National d’Art Contemporain (Grenoble, France, 2017); Frac Lorraine (Metz, France, 2016); Cité Internationale des Arts (Paris, France, 2016-2017); Paradise Air (Japan, 2015); Arcus Studio Residency for Artists (Japan, 2014); and AIT- Arts Initiative Tokyo (Tokyo, Japan, 2009).

Among her individual performances and exhibitions, the following stand out: Symtomario (Museo de Arte Moderno de Buenos Aires, 2022), Ronco Oceânico (Performance Biennial, 2019), Biodelica (Galería Ruth Benzacar, 2018); EsquizoPicnic (Museo Reina Sofía, Spain, 2018); Liminoid Session (Palais de Tokyo, France, 2016); Strabisme Internet (Galerie Bendana-Pinel, 2016); Hiperestesia (Muntref, 2016).

The therapeutic possibilities of artistic practice are part of her research fields. In this context, her work at the Clube de Artes e Lazer (La Plata, 2021-), GAYA (La Plata, 2019), INHA (Paris, 2019), EHPAD, Solexine, (G.E.M.) (Grenoble, 2017-18), the palliative care service for adults at the Legouest Hospital (Metz, 2016), the Luis Agote Juvenile Institute (Bs. As, 2014), and the Ricardo Gutierrez Children’s Hospital, Palliative Care Area (2010-2016) is worth highlighting.

She participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Anthropologist with a degree from the Universidade de São Paulo (USP) and the Universidade Federal do Pará (UFPA), working as a professor and researcher at the intersection of urban anthropology and gender and sexuality studies. He entered the field of Visual Arts in 2019, independently, with a photo-performance titled “Movimento-Ação”, performed on the Island of Cotijuba (PA).

In 2020, he began his creative process for the production of “Corpo (in)finito?”, an audiovisual essay that seeks to compose narratives about life and death in the urban landscape of the city of Belém. In the same year, he presented a video-oriented performance with the same name at the Pequeno Encontro da Fotografia (online edition). Also in 2020, his first authored poem (Cotidiano) was published in a Poetry Anthology in the Concurso Nacional Sarau Brasil. In 2022, he was selected in the category Fomento à Produção de Artistas Emergentes da Amazônia Legal to be part of the 40th Salão Arte Pará. Still in 2022, he independently released the short film “Corpo (in)finito?”. His works are permeated by the relationship between textual and bodily language as a way of reflecting on the body, gender, sexuality, territory, urban space, memory, and ancestry.

He participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law No. 15.948/2013.

Esteban Igartua (Lima, Peru, 1974) makes paintings and drawings depicting landscapes and scenes that highlight the organic aspect of human life. The boundary between the human being and the surrounding environment is blurred and, in some cases, indistinguishable.

He studied painting at the Pontificia Universidad Católica del Peru, then at the Slade School of Arts and Byam Shaw, London. In 2003 his work was selected for Bloomberg New Contemporaries, which took place in Manchester and London that year.

His latest solo exhibitions include: ‘Coliflor’, Proyecto Amil, Lima (2018), ‘Excursión’, Garúa, Lima (2015) and ‘Campo Ocupado’, Revolver Galeria, Lima (2012). His work has been part of group exhibitions in Peru, the UK, Brazil, Spain, Albania, and Colombia. It has been referenced in publications such as “77 Contemporary Peruvian Artists” (2017), edited by Mario Testino Museum – MATE and New Contemporaries (2003). In 2019, Proyecto Amil published “Coliflor”, bringing together the works that were part of the exhibition of the same name and texts by contemporary Peruvian writers. He currently lives and works in Bristol, UK.

 

Genietta Varsi (Lima, Peru, 1991) investigates from a sculptural point of view how matter (bodies) shape and transform the environment with their behavior and vice versa. Varsi works with multidisciplinary methodologies and tools combining art, medicine, biochemistry, ecology, mechanics, and anthropology to think and unthink the body in the everyday. The media she works with include sculpture, drawing, video, sound, actions, workshops, and printed publications.

She is pursuing a Master’s degree in Visual Culture, Contemporary Art and Curatorship at Aalto University, Finland. She studied sculpture at the PUCP in Peru. He has participated in the artistic residencies Uberbau_House and Residencia Artística FAAP in São Paulo, Brazil, in Molten Capital at the Museo de Arte Contemporáneo-Quinta Normal in Santiago de Chile. She had received the Artus grant for Delfina Foundation in London, England. His latest solo exhibitions include: “Pumping Roots”, Galeria 35m2, Prague “Pneumatic Driving” Ginsberg, Lima, 2021, “El dedo pulgar es el que ejecuta”, Ginsberg, Lima, 2018. Varsi has presented his projects in group exhibitions and film festivals in Europe and South America.

Participating artists of Pivô Satellite #5

Gianfranco Piazzini Alcántara (Lima, Peru,1984) studied at the Art Faculty of the Pontificia Universidad Católica del Perú. He currently works with different media, mainly video, animation, drawing, and sound. 

His work addresses the representation of emptiness, the blurring of boundaries, and the abstraction that remains when the limits of language, culture, and reason expand. He explores identity through the limits of the body, the transplantation of concepts, and the mutability of definitions, which are conditioned by time and memory.

 

Diego Vizcarra Soberón (Lima, Peru, 1981) is an animation filmmaker, he studied at the Film School in Lima, Peru, and at the Escuela de Trazos in Madrid, Spain. He departs from surrealism, psychedelia, and poetry to inquire, in a critical spirit, concerns, reflections, dreams, or visions that question our contemporary condition. The artist is interested in the status of the image or the relationship – both personal and social – with the natural environment. 

His works have been shown at festivals in Peru, Cuba, Mexico, Puerto Rico, Brazil, Argentina, and Spain.

Participating artists of Pivô Satellite #5 

Sylvia Fernández (Lima, 1978) studied Fine Arts at the Escola Superior de Arte Corriente Alterna, she has participated in several group and solo exhibitions in Lima and abroad. Among these, the solo exhibition ‘Volvamos’ curated by Nicolás Gómez Echeverri (Galería del Paseo, 2021), ‘Negar el desierto’ (Museo de Arte Contemporáneo MAC Lima, 2020), ‘Vamos Desapareciendo’ (Salón ACME, 2020) and ‘Conversaciones con Carmen’, exhibition curated by Jorge Villacorta (ICPNA Miraflores, 2019). She has participated in different competitions, being a semi-finalist in the BP Portrait Award (London, 2017) and finalist in the Fundación Focus Abengoa (Spain, 2005), ‘Pasaporte para un Artista’ (Lima, 2004), among others. In addition, she has participated in art fairs such as Arco (Spain) and Cologne Art Fair (Germany).

 

Rodrigo Andreolli (Rayo Wasser) (1984, São Paulo) transits through the arts, exercising the body as an element of sensitive activation of the visible and invisible layers of public matter. He works in the elaboration of production structures for multidisciplinary art projects.

Associated with the company Teatro Oficina Uzyna Uzona (2006, São Paulo), he was a resident artist and producer of the Residency for dance LOTE (2011-2014, São Paulo) and structural artist of the research project Terreyro Coreográfico (2014-2017, São Paulo), he was also part of the Residency Helmet in Athens (2017), Master in Choreography and Performance at the Institute for Applied Theatre Studies (ATW), JLU, Gießen, Germany (2018-2022), Research Affiliate in the ACT, Arts, Culture and Technology Program at MIT – Massachusetts Institute of Technology (2020), and Danceweb Scholarship Program 2015 – Vienna Dance Festival Impulstanz.

Some of the most recent works are “Matter Mythologies” (2019, Athens, Greece), supported by Creative Europe Mobility Funds – IPortunus; “Zu Verschenken” (2021, Giessen/ Frankfurt, Germany); “Vibrations of the Ignoto” (2022, Rio de Janeiro, Brazil), performance and installation in mixed reality, part of the Museums Conference, commissioned by the Goethe-Institut Rio de Janeiro, in partnership with the National Museum and Rio Art Museum.

 

Participating artists of Pivô Satellite #5

Rita Ponce de León is a visual artist with a focus on drawing and installation. She is currently studying the system of psycho-corporal techniques for human development proposed by the Argentine organization Rio Abierto. In her work, she engages in situations focused on learning and participation, leading to the generation of ephemeral human encounters. She approaches practices such as butoh and various workshops that approach body movement as the origin of knowledge and wisdom. This diversity of processes is condensed through drawings which she shares in visual essays. Her work has been exhibited at the 32nd São Paulo Biennale (Brazil), Kunsthalle Basel (Switzerland), Galeria 80M2 (Peru), Museu de Arte Moderna (Mexico), among others. In addition, her images have been published in Vitamin D2: new perspectives in drawing (2013). Currently, she collaborates with Yaxkin Melchy (poet), Shinnosuke Niiro, Emilie Sugai, Joelle Gruenberg.  Participating artist of Pivô Satellite #5 

Gabriel Massan (Nilópolis, Rio de Janeiro, 1996) is a mixed format digital artist. Combining storytelling and world-building techniques, he discusses the relations of power and inequality in life performances inside the virtual space. His work includes 3D animation, digital painting, single-player games, virtual and augmented reality, and has been widely distributed in NFT. https://gabrielmassan.com Artist participating in the 4th edition of Pivô Satellite (2022)

Júlia Rocha collaborates with dance, writing and performance processes. In 2014 she started É selo de língua, through which she experiments with textual and sound editions, with Gustavo Galo. She graduated in Communication of the Body Arts, PUC-SP and is currently taking her master's degree in Visual Poetics at ECA-USP. Artist of Pivô Research 2020 Cycle I and Satellite Pivô #4 edition (2022)

Pedro Victor Brandão (Rio de Janeiro, RJ, 1985) works with photography, painting, moving image and social experimentation. He confronts the artistic traditions in assessments of the present and future of capitalism. His research combines different fields of knowledge, such as economics, the right to the city, cybernetics and the current manipulable nature of the technical image. Victor Brandão studied photography at Estácio de Sá University in Rio de Janeiro and attended free courses at Escola de Artes Visuais Parque Lage and the Summer University at Capacete. He held the solo shows “Pintura antifurto”, in Casa França-Brasil (Rio de Janeiro, Brazil), “Tela Preparada”, in Sé gallery (São Paulo, Brazil), and “Forjada e Outras Formas” in Portas Vilaseca Gallery (Rio de Janeiro, Brazil), among others. He has participated in group shows such as “Vivemos na melhor cidade da América do Sul”, in Iberê Camargo Foundation (Porto Alegre, Brazil), “Take Me, I’m Yours”, in Villa Medici (Rome, Italy), and “O Rio é uma Serpente”, in SESC (Sorocaba, Brazil).

https://pedrovictor.com.br 

Artist participated in Pivô Pesquisa 2018 and in Pivô Satélite #4. (2022)

Gabriel Junqueira (Fortaleza, Ceará, 1992) is a multimedia artist who explores the relationships between body, technology and materiality in supports such as digital images, sculptures and installations.

His recent research revolves around the relationship between built spaces and nature through the creation of landscapes in 3D architectural visualization software, commonly used in the real estate market to simulate structures to be built. Seeking inspiration from corporate architecture and landscaping concepts, the artist creates impossible locations, where figurative elements are rearranged to abstraction.

As an extension of his research in visual arts, since 2018 he has been dedicated to the musical project “Naves Cilíndricas”. In 2020, he released two albums: “Imagens de Desastres Em Alta Resolution” by the Meia Vida label and “Névoa” by the Domina label.

@gabrieljunq

@navescilindricas

Artist participating in Pivô Satellite #4  (2022)

The Instagram profile @newmemeseum was created in late July 2020. One of the main motivations was the desire to reflect, with humor and irony, about the mechanisms adopted to survive in/on the art world, and also about the mechanisms that the art world imposes on us - at first sight, opaque and incomprehensible. Often, the memes created are about personal experiences. The @newmemeseum performed the virtual occupation Combater ficção com ficção in the project ofício:webat at Sesc Pompeia, São Paulo, which was on view from July to August 2021. Soon, it will inaugurate the occupation part of Pivô Satelitte's third edition, entitled Sex, Lies and Videotape, curated by Raphael Fonseca.   Participating of Pivô Satellite #3

Daughter of the mysterious entrails of mother Bahia, from where arteries of living waters sustain in faith, abound. Ventura Profana (Salvador, 1993) prophesizes multiplication and abundant black, indigenous and transvestite life. She breaks the haze: erotic, atomic, taking red as religion. Her doctrine comes from Baptist temples, she is a missionary pastor, evangelist singer, writer, composer, and visual artist, whose practice is rooted in researching the implications and methodologies of deuteronomism in Brazil and abroad, through the spread of neopentecostal churches. The oil of daisies, jiboias and reginas run down the paths until it floods her with desire: anointing. It praises, like the nailing of a dagger licked with cerol and rust in Pharisaic hearts.

Visual artist, PhD in Visual Arts at PPGAV/EBA/UFRJ. In his artistic and theoretical research, he investigates the influence of documentations, narratives and other forms of "self-documentation" in the way people live and how they are socially recognized. He participates in exhibitions and other art activities since 2009, among the main ones are the 5ª Edição do Prêmio Energias na Arte, at the Tomie Ohtake Institute / SP; Artists' Films and Videos, at the Iberê Camargo Foundation / RS; Abre Alas 10, at the gallery A Gentil Carioca / RJ; and 65 Salão de Abril, at Centro Cultural Banco do Nordeste / CE, in which his video "Fundos" was awarded. In 2019, he presented the solo exhibition "Como faremos para desaparecer", curated by Charlene Cabral, at the Fundação ECARTA gallery, in Porto Alegre / RS. In 2020 he was one of the artists nominated for the PIPA Prize. cargocollective.com/eduardomontelli   Participating artist Pivô Satellite #3

Laura Fraiz (São Paulo, 1996) is a Brazilian and Venezuelan artist who works with video, performance, drawing, painting, sound and writing. In her production, she creates confessional and autobiographical narratives, exposing memories, secrets and daydreams to investigate relationships such as reality and fiction, violence and desire, control and disobedience. Graduated in Visual Arts at the University of Brasilia, she exhibited her work in several cities in Brazil, as well as in Switzerland and Singapore. In 2018, she was awarded the Transborda Brasília Award, with the videos Mordente (2017) and Inside My Baby (2006).   Participanting artist Pivô Satellite #3

Davi Pontes (São Gonçalo, 1990)

Artist, choreographer and researcher. Graduated in Arts at Universidade Federal Fluminense and Master’s student in the Postgraduate Program in Arts (Contemporary Studies of the Arts) at the same institution. He studied at the ESMAE Superior School of Music and Arts (Porto, Portugal).

Since 2016 he has presented his work in art galleries and national and international festivals, mainly at the University of Pennsylvania (USA), Pivô (São Paulo), Centro Cultural de Belém (Lisbon), Rua das Gaivotas 6 (Porto), Galeria Vermelho (São Paulo), Valongo International Image Festival (São Paulo), Rumos Itaú Cultural 2021 Program, Panorama Festival (Rio de Janeiro), Artfizz – HOA Galeria (USA) and resident in the Pivô Arte Pesquisa Program, in the Research Residency Program in arts at MAM Rio and at the Escola Livre de Artes – ELÃ, among others. He directed the film Rave the Racial in partnership with the artist Wallace Ferreira, a work commissioned by the Pivô Satellite Program, 2021.

Developing a research that starts in the body, his practice carries the constant challenge of positioning choreography to respond to its own ontoepistemological conditions -, to serve politically in the face of the conditions in which it is being practiced. The artist has dedicated his practice to deepen the concepts of raciality, choreography and self-defense and their entanglements based on the idea of archive contained in the production of History.

 

Wallace Ferreira (Rio de Janeiro, 1993)

Dance artist, performer, visual artist born and raised in Vigário Geral, a suburb of Rio de Janeiro. His first artistic reference arises in childhood with his family, where everyone dances and builds their relationships through affection and movement. With the encouragement of his father, he began his studies in dance as a child. Projecting futures previously dreamed. He studies Dance at Universidade Federal do Rio de Janeiro (UFRJ), building strategies and choreographing actions to escape representations. Through undisciplinary practices, his creations cause accidents in the languages ​​of dance, theater, performance and the visual arts, investing in the perception of himself as a possible path of muscular dreams. Through other perspectives, new visions of the self. His work is also an obsession with entering layers of the invisible, inhabiting fragilities, accumulating movements that wish to blur certainties and dispute narratives. To betray words and produce images to touch with your eyes. Driven by the challenges of tensioning the present, since 2017 he has been presenting his works in art galleries, national and international festivals such as Pivô Satellite, Festival Panorama, ArtRio, Presença Exhibition, HOA ART, Artfizz. Among his most recent works, highlight to the trilogy “Repertório” in partnership with the artist Davi Pontes who was at the VERBO Exhibition at Galeria Vermelho, Valongo International Image Festival in São Paulo, Segunda Preta, Belo Horizonte, Anita Schwartz art gallery, Rio de Janeiro.

Participating artists of Pivô Satellite #2

Born in Belém, 1992. lives and works between Rio de Janeiro and São Paulo, graduated in Visual Arts from the Federal University of Pará (UFPA). Rafael Bqueer's performance practices come from investigations on political art, sexuality, Afrofuturism and decoloniality. Drag queen and LGBTQI + activist, Bqueer has a work that also dialogues with video and photography, using satires from the pop universe to build attentive criticisms of contemporary issues. Bqueer acts in a transdisciplinary way with experiences between fashion, samba schools and contemporary art. Bqueer has participated in national and international exhibitions, highlighting: “Against, Again: Art Under Attack in Brazil"- Shiva Gallery em Nova York (2020) e a individual “UóHol” no Museu de Arte do Rio (2020). Artista premiade na 8º Edição da Bolsa de fotografia da Revista ZUM - Instituto Moreira Salles (2020) e 7º edição do Prêmio FOCO Art Rio (2019). Selecionade para a 30ª edição do Programa de Exposições Centro Cultural São Paulo- CCSP (2020); participou da residência Artística AnnexB em Nova York (2019). Foi indicade ao Prêmio Marcantônio Vilaça (2019) e Prêmio EDP nas Artes do Instituto Tomie Ohtake (2018). Suas obras fazem parte dos acervos do Museu de Arte do Rio (MAR), Museu de Arte Moderna do Rio de Janeiro (MAM) e Museu do Estado do Pará (MEP).   Participating artist of Pivô Satellite #2 Participated in the Aparamento project, a partnership between Pivô and Yes I Am Jeans for SP–Arte, curated by Alexandre dos Anjos and Pivô Participated in the exhibition Between Our Knots: Ten Years of ZUM/IMS Grant in 2023

Diambe da Silva was born and raised on the outskirts of Rio de Janeiro. Her artistic production moves between cinema, sculpture and choreography and often deals with materialities like cement, food, engraving, photography and words that are elaborated to the extent that she creates companions in situations of diaspora. Her work was exhibited in Museu de Arte do Rio (Casa Carioca), Paço Imperial (Esqueleto, uma história do Rio), Galpão Bela Maré (Transcendências), Escola de Artes Visuais do Parque Lage (Arte Naïf; Estopim e Segredo), Carpintaria – Fortes D’Aloia e Gabriel (Escrito no corpo), Despina (Cartões de revisita) and 25º Salão de Artes de Anápolis. She also participated in the residences MAM / Capacete (2020), Despina (2019), Estado  crítico (2018) and in the itinerary program Residência Cem Teto (2019-2020).

 

http://cargocollective.com/diambe

https://vimeo.com/387099169

Instagram: @diambe_eu_vc

 

Participating in Pivô Satellite #2

Anarca Filmes is a collective proposition in cinema and contemporary art working since 2014. Its films, videos, parties and artistic residencies are manifested as relational devices, which exercise the coexistence of difference. The group create interlocutions between presences and spaces, expanding its supports and temporalities through dialogue with the languages ​​of performance, installation, video and internet. Influenced by political tensions in Brazil from 2013 onwards, the collective members began their activities at night scene in Rio de Janeiro and Recife, documenting and promoting politically engaged movements, in addition to parties at spaces aimed at producing social impact - always in dialogue with a network of artists, activists, filmmakers, therapists, cultural producers, researchers and educators from all over Brazil. Anarca Filmes’ works have already been shown at festivals and institutions in the Netherlands, Portugal, Germany, Mexico and several states in Brazil. Currently the group have copies available online and in the collection of the Cinematheque of the Museum of Modern Art in Rio de Janeiro. Participating in the Pivô Satellite are Amanda Seraphico, Clarissa Ribeiro and Lorran Dias.   Watch here.   Clarissa Ribeiro Film director, editor and visual artist, Clarissa Ribeiro has a degree in audiovisual from the School of Communication at the Federal University of Rio de Janeiro. In 2013, she directed and edited her first short film: "CHOQUE", receiving the award for "Best Contribution to Cinematographic Language" at the International Archive Film Festival (REcine 2013). In 2015 she was co-creator of the collective Anarca Filmes, an independent and experimental audiovisual production group, where she works until today as a director, editor, actress and director of photography. Her second film: "X-MANAS" (2017) was exhibited in more than 20 national and international film festivals and exhibitions, such as Olhar Internacional de Cinema and Berlin Porn Film Festival. At the end of 2019, she finished her third film "A Carne é Beijo e o Avesso Água", selected for the 7th RECIFEST - Festival of Sexual Diversity and Gender. In 2018 she co-created the “ANTI Antifascist Film Residency Project” at the Independent Art Space SARACVRA, where for one month, she coordinated the production and finalization of 8 films. Highlights: "Noite Escura de São Nunca" (2015), winner of the Best Short Award by the Critics Jury at the 19th Tiradentes Cinema Exhibition, where she worked as an actress and director of photography; "Perpétuo" (2018), by Lorran Dias, selected for the 48th International Film Festival Rotterdam, where she worked as an editor; and "Uma Paciência Selvagem me Trouxe Até Aqui" (2021), directed by Érica Sarmet, where she worked as an actress and editor. She currently concentrates her artistic research in the area of ​​noise music, having released her first EP "A Serpente das Escamas de Cristal" in June 2020. In addition, Clarissa also acts as a producer and DJ at Isoporzinho das Sapatão, an event focused on the occupation of public spaces by lesbian and bisexual women.   Lorran Dias Lorran Dias is a filmmaker, artist, curator and screenwriter residing in Favela da Maré, Rio de Janeiro. He is artistic director and content programmer at TV Coragem (Programa Convida, IMS, 2020), directed and edited the documentary Novo Rio (2020), directed and scripted Perpétuo (International Film Festival Rotterdam 2019), among other titles and film residencies with Anarca Filmes. He graduated in Cinema and TV at the UFRJ School of Social Communication with the work "Disputas Sensíveis: Ensaio-Manifesto contra o Olhar Colonial". He interned at the production company Taiga Filmes (2015) and since then he has worked in the audiovisual industry with assistance from directors, script and script doctoring. Since 2017 he participates in the curatorship of the Semana de Cinema festival / Semana dos Realizadores, being the curator of Cinerama Cineclube and its annual exhibitions of contemporary Brazilian cinema (2014-2017). The installation Transmission: When Ficcion Becomes History (C + CSJS of UBC's Research Excellence Cluster) is available on the Ehcho.org platform. His latest works were made possible by the Instituto Moreira Salles, Critical + Creative Social Justice Studies of the University of British Columbia (Canada), Heinrich Boll Stiftung (Germany/Rio), Observatório de Favelas (Rio) and recognized by The Documentary Impact Producer Relief Fund of Doc Society (London/New York).   Amanda Seraphico Amanda Seraphico "Badgaleto", graduated in Audiovisual at the School of Communication at UFRJ and graduated in the Executive Production course at the International Film Academy. She is also one of the founders of Anarca Filmes, in which she reveals herself as a screenwriter, director, producer, performer and editor of videos and films such as "Badgaleto - No Limite da Morte" and "O Conto do Nunca Mais", shown at ArtRio 2019. She directed and acted in "A Lenda do Galeto Vegano", made in partnership with visual artist Sosha. Currently, she has also explored the language of graphic design by creating posters.   Anarca Filmes is a participant of Pivô Satellite #2.

Ana Raylander Mártis dos Anjos is born in the world’s end, currently lives in São Paulo. In her artistic practice, she seeks to establish a dialogue between collective history and her own history, which she has called a practice in chorality, involving groups of people for collaborations and experiences of collision. With a background in clowning, a BA in Visual Arts from the Federal University of Minas Gerais (Brazil) and Art and Multimedia from Escola Superior Gallaecia (Portugal), she understands her performance as an interdisciplinary and transversal activity. She has frequently resorted to the knowledge of education, writing, performance and play as a way of composing verbal, corporal and ethical machinery to discuss her urgencies in long-term projects. She was awarded a residency at the Adelina Institute (2019) and the EDP in the Arts Residency Award, from the Tomie Ohtake Institute (2018), performed the Choros Choros project, in the CCSP Exhibition Program (2018), participated in exhibitions at Aura Gallery, Centro Cultural UFMG, XIX Bienal Internacional de Cerveira e Novas Poéticas. She held solo shows in Brazil and Spain.

 

Participating artist at Pivô Satellite #1.

Diego Araúja is from Salvador-BA, Brazil, and produces art in an expanded way. His media are literary, visual, scenic and cinematographic. He acts as director, playwright, screenwriter and visual artist. Since 2013 he directs the process Estética Para um Não-Tempo (Aesthetics for a Non-Time), with the objective of establishing a qualitative time that allows the production of emancipated afro-diasporic memories; what he calls Fundamentos Futuros (Future Foundations). In this process, he experimented with the creation of oríkì’s (oral literature of Yorùbá origin), which generated the work QUASEILHAS (2018). In 2017 he founded the ÀRÀKÁ Platform with artist Laís Machado. In 2018, he designed a choreographic performance for the video installation A Marvelous Entanglement, by British artist Isaac Julien. In the same year, he did his artistic residency at Atlantic Center For The Arts (Florida-USA), where he created the video installation Oríkì das Araújas, experimenting with synthetic sound vibrations in oríkì’s. In 2020, he did his artistic residency at SAVVY Contemporary (Berlin-GER). Currently, Araúja is developing authorial cinematographic work, while organizing the foundation of the International Creole Laboratory.

 

Participating artist at Pivô Satellite #1.

biarritzzz (Fortaleza, 1994) lives and works in Recife, Brazil. New media interdisciplinary artist whose focus is to understand the interactions between the internet universe, the image world and the non-hegemonic bodies, investigating the infinite languages from this intersection and their cryptographies as tools of power. In her work, she remixes pop culture, video art, meme politics, video game aesthetics and poetry with new media, her natural habitat. One of the first exponent Brazilian artists in GIF art, biarritzzz extrapolates her childhood and nerdy experiences in this world of epileptic images in motion, usurping digital aesthetics and putting into play the false question of technicity versus amateurism/science versus magic in the creation of realities.

www.biarritzzz.com 

 

Participating artist of Pivô Satellite # 1

The artist participated in the video program of the show ‘from underwater mountains fire makes islands’, curated by Yina Jiménez Suriel, in 2022.

Rebeca Carapiá was born in lower city, Salvador-Bahia. Visual artist graduated by the Federal University of Bahia, she is interested in the relations produced between language, conflict, body and territory. Based on her experience and daily life in the neighborhood of Uruguai, a space that constitutes her as an artist, she has been creating and organizing a set of practices and reflections through different platforms of exhibition, formation and artistic experimentation, visible and invisible to the contemporary art circuit. Through sculptures, drawings, installations, prints, texts and objects, the artist creates a cosmology around the conflicts of the norms of language and the body, in addition to expanding a geopolitical debate involving memory, precarious economies, ancestral technologies, sexual dissent and of gender and the power relations between speech and word. Performing the deconstruction of women’s geographies, she uses experience with metalwork and materials such as copper and iron to confront the hegemonic discourses of art and politics.

 

Participating artist at Pivô Satellite 2020 #1